Great Video Requires Talent and Lots of Fast, Reliable Storage

Content Insider #603 – Protection

by Miles Weston

Now, my point is
that the lack of a silver spoon has set you on a certain path that you needn’t
stay on. If you’re prepared to adapt and learn, you can transform. – Harry Hart – “Kingsmen:
The Secret Service,” 20th Century Fox, 2014

After catching the glitz and beauty
of TIFF (Toronto International Film Festival), we visited some friends at Cream
Productions. Great way to remind ourselves that behind the glamour on the
screen it requires a lot of work to create great film, ad, series projects.

Silent Set – Members
of the Cream Productions crew set up their gear and walk through the shooting
segments for the VR Hulu series, ‘Curious Minds.’ The series
earned them the Gold VR/360-360 Video
Award at this year’s W3 Awards.

They only exist in movies.

Or in the polished marketing pitches
at events like IBC, NAB and SMPTE.

Medium-budget projects $10-$50M or about
35 percent of the video stories

Low-budget work is that produced
with a budget below $10M (probably most
in the range of $1-$5M) represents about 50 percent of the films/shows people view

Workflow – Whether
it’s a lone filmmaker project or a minimum crew effort, nearly all content
productions follow a typical workflow schedule with direct attached storage in
the field or on the set which is then used for post-production work. Increasingly, filmmakers are moving to more
expandable network attached storage to have access to and protect all of their
projects.

Cloud folks like to point to their
successes with tentpole projects produced by high-end facilities (estimated 800
worldwide) as well as the creative work of mid-range production houses (about 36,800).

Citing their system and storage
expertise, they present sound reasons why creative work should be done in the
cloud.

Of course, these operations have a
full-time IT department or person to keep things running smoothly.

The high- to mid-range facilities leave
the workflow management task to the boss or the person who stepped out of the
meeting for a moment.

More Us than Them – While every filmmaker dreams and works to do a well-budgeted
film ($5-%50M plus), the majority of video storytelling projects are produced
by individual to small crew projects.
And there are 10s of thousands of filmmakers around the globe turning
out outstanding “economical” films and shows.

Low-end budget production teams and Indie
filmmakers (roughly 840,000) tend to prefer to keep their content storage
closer to home.

With filmmakers working in 4K, 8K, VR,
HDR formats to futureproof their creative efforts; are focused on delivering
today and keeping content where they can see it for tomorrow.

Without constant attention, network
limitations and stability make it almost impossible to do a complete project in
the cloud … no matter what marketing/sales folks tell you.

The cloud is great for moving small
files like proxies or a backup for the backup of the backup…the hail Mary move
they have to make when everything goes to …

Whether it’s a high-end, mid-range or
low-end project or the transport and management of content production, the
impact of IP is still limited when speed, performance and security are major
concerns.

Growing Numbers – With
the growing demand for quality content for streaming and the increased use of
digital, IP based systems/solutions; filmmakers at every level are shooting
more content that needs to be reliably, securely stored.

4K, 8K resolution films can easily produce
up 1.5PB of content that must be stored while a TV drama sucks up to 400TB of
storage.

Even projects like Cirina Catania’s “The
Kionti Story” documentary produce 2TB of data (and counting) for of The Catania
Group,

Lewis Smithingham, of 30 ninjas,
noted that for Doug Liman’s six-part episodic VR series (the world’s first
broadcast-quality 360-degree production and winner of a number of industry nominations
and awards) the firm racked up 135TB of data for the highly acclaimed immersive
project.

Filmmakers agree that because of timeline
demands as well as the size/number of dailies/rushes required; it is better,
easier and safer to retain all of the data on site.

At SMPTE,
Blackmagic Design’s President Dan May said DaVinci Resolve 15 is ready for projects
of all sizes.

“Deadlines are even more critical today,” he commented, “which
is why we’ve been enhancing its collaboration tools and feature set. Now, editors,
assistants, colorists, VFX artists and sound designers can work on a project at
the same time.”

“Adding open source RAW support (images as seen by the cameras’ sensors) means
organizations can download the solution to their network and not be subject to
Internet quirks or security issues,” he explained.

While IP-based production solutions have grown dramatically because IP is ubiquitous,
it’s also more easily hacked.

Fast, Economic Post – Blackmagic Design has been instrumental in putting
high-quality post production tools in the hands of today’s filmmakers and post
production crews.

Blackmagic
RAW is not just a video data container, the files include metadata with
information about the sensor and its color science as well as the camera settings,
so all of the workflow data are instantly available.

Keeping
all of that data from the shoot makes it fast and easy for MAM (media asset management)
tools to manage/track all of the media components – video, audio, metadata – during
the editing/post process.

It beats the heck out of the old
paper/pen data logging!

High-speed
Internet connectivity is still an integral to the production process.

The
major issue that exists for production workflow is that project activities can
be severely degraded or disappear completely.
The key parameters for filmmakers are:

Bandwidth

Latency

Packet
loss

OTT
services like Netflix, Hulu, Sky and Tencent as well as service providers like Akamai
and Ooyala solve these challenges by installing high-capacity, high-performance
storage and thousands of servers around the globe to keep the films/shows close
to the user and improve streaming performance.

These
cloud issues also become major issues for filmmakers working with color, FX and
other specialist on other sides of the country or half way around the globe.

“Only after the high-resolution
content has been safely, reliably stored locally and backed up a couple of
times do we move content to expert partners,” Smithingham emphasized. “A segment
or film file is a terrible thing to lose.”

Back in Post – Seasoned
filmmakers like Andrew MacDonald, of Cream Productions, use fast, reliable,
low-cost direct attached storage on the set but immediately transfer all of the
material to centrally located network attached storage, so the entire
production staff can quickly access specific segments to work on. The advent of high-performance media asset
management systems also ensures nothing is lost or misplaced.

“By acting as
your own data center with your production facility, you have more control over
who has keys to content and who comes/goes,”said Andrew
MacDonald, creative director at Toronto-based Cream Productions.
The organization’s creative technologists produce 4K TV specials, series and
ads as well as immersive VR projects like “A Curious Mind” for Hulu that received
the Gold VR/360-360 Video Award at this year’s W3 Awards.

“You know what your crown jewels are,” MacDonald added, “and know how the cost of
losing them will impact you, so you store accordingly.”

While it is often an afterthought for content creation, production and
distribution; data storage is a key element in today’s video-driven world.

Even
your best, most casual video projects require a safe, reliable place to sleep so
they’re ready to be used or viewed.

It
becomes more critical because of increasingly large file sizes for
high-resolution, multi-camera images and RAW content that are 2-3 times larger
than logarithmic encoded images.

While
the cloud holds promise for filmmakers who need to meet the fast-shifting
demand for resources and to speed collaboration, the challenges of moving large
video files and reliability/security encourage most storage to remain
locally.

Home Sweet Home – While
cloud services like to extoll the savings and reliability of storing all of
your content in the cloud, most filmmakers and production teams prefer to know all
of their content is safely, reliably and securely stored at home.

Most showrunners and DITs use DAS
(direct attached storage) RAID (Redundant Array of Independent
Disks) on set because it is a fast,
economic, reliable means of moving content from lower-capacity flash cards to
high-capacity (12-50TB plus) devices.

While most filmmakers (especially Indies)
continue to buy production storage based on the projected capacity needs for each
project, there is a growing trend to move to expandable capacity NAS (network
attached storage) solutions.

NAS makes it easier and faster to
carry out simultaneous collaborative work and provides fast access to present
and past work.

In addition, expanding capacity is
as simple as adding more high-capacity HDs or SSDs rather than buying a
complete, fully populated DAS unit.

And a lot less expensive considering
how many projects you will produce during your career.

Shifting Trend – Initially, filmmakers thought network attached storage
was only a realistic investment for large studios; but increasingly, they are
understanding that the early investment of the NAS infrastructure also becomes
less expensive as time passes and more projects are all stored on the rack
rather than spread across 10-20 direct attached units, somewhere in the
office.

So, what do you do with the project
DAS storage?

Use it as your first copy, failsafe
backup for each project and keep your years of work online, readily available
and easy to go back in time, if necessary.

The biggest question most post
operations have in moving to NAS is copper Cat 6 or fiber optic cable. Performance is about the same (salespeople
will argue the point), fiber cable is slightly more expensive, but the biggest
difference is distance – 300 ft for Cat 6, 1-6000 ft. for fiber.

The kind of show people want to watch
on one of your screens changes with age, time of the day; and you never know
when someone will want you to refresh the project you did years ago when
viewers agree with Harry Hart, “Nowadays, they’re all a little serious for my taste.
But the old ones … marvelous. Give me a far-fetched theatrical plot any day.”

Every filmmaker wants his/her
insurance copy in addition to the mandatory insurance copy!

Nice to know you have all
of the pieces on your production storage instead of in someone’s cloud.